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중국어문연구회> 중국어문논총> 의미연결망분석과 감정분석을 통해 본 한국 언론의 중국 보도와 반중 감정 ― 코로나 19 사태 전후를 중심으로

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의미연결망분석과 감정분석을 통해 본 한국 언론의 중국 보도와 반중 감정 ― 코로나 19 사태 전후를 중심으로

Korean Media Reports on China and Anti-Chinese Sentiments through Semantic Network Analysis and Sentiment Analysis: Focused on before and after COVID19

鄭素英 ( Jhong Soyoung ) , 金希敎 ( Kim Heegyeo )
  • : 중국어문연구회
  • : 중국어문논총 110권0호
  • : 연속간행물
  • : 2022년 07월
  • : 109-137(29pages)
중국어문논총

DOI


목차

1. 들어가는 말
2. 선행연구와 연구방법
3. 의미연결망 분석
4. 감정분석
5. 결 론

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초록 보기

This study analyzed the perspectives of Chinese reports in the Korean media. The analysis methods used in this paper are semantic network analysis and opinion mining analysis. As of January 1, 2020, in Big Kinds, this article has collected articles from the two years before and two years after that. The scope was targeted to the Chosun Ilbo, the representative of the conservative media, and the Hankyoreh, the representative of the progressive media. In order to see whether anti-Chinese sentiment has changed in Korea before and after COVID19, the analysis standard was set to January 1, 2020. As a result, it was found that both media reported on China in a much more negative direction after COVID19 than before. The Chosun Ilbo’s reports on China before Corona19 mostly focused on politics and economy, but the reports after Corona19 had a lot of negative articles stating that the origin of Corona was China. In the case of the Hankyoreh, before Corona19, there were many articles about inter-Korean talks and North Korea-US talks, and after Corona, various topics were reported, including articles related to Corona. However, while the total number of articles decreased, the number of negative reports increased. But the Hankyoreh did not clearly show the intention to use the Corona19 incident to hate China, and was very careful in calling Corona19 the Wuhan virus or the Wuhan pneumonia. The Hankyoreh’s indifference to China has increased in the wake of the COVID-19 outbreak. The amount of articles has decreased, and the direction of articles has changed.

UCI(KEPA)

간행물정보

  • : 어문학분야  > 중어중문학
  • : KCI등재
  • :
  • : 계간
  • : 1226-4555
  • : 2765-4060
  • : 학술지
  • : 연속간행물
  • : 1988-2022
  • : 1737


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1중국어 음역어의 생성과 소멸에 대한 소고 ― 음운 적응과 의미 합성 분석을 중심으로

저자 : 金兌垠 ( Kim Taeeun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 1-28 (28 pages)

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This study is an analysis of Chinese phonetic loans, which normally borrow the sounds of words in a source language. Chinese has several types of phonetic loans, and the main reason why it has different types of phonetic loans is that the Chinese writing system uses ideographic characters. Yinyijieci is a very unique type of Chinese phonetic loans, and it shows not only the perceptual similarity of pronunciations between a source language and Chinese language, but also a particular meaning from the group of Chinese characters consisting of a phonetic loan. Chinese speakers prefer yinyijieci to pure phonetic loans, and thus this study proves the reason with two different theoretical analyses, namely Optimality Theory(OT) and Conceptual Blending Theory(CBT). For the reasonable OT analysis, this study proposed *C-Meaning constraint, and it made yinyijieci an optimal candidate. The reason why *C-Meaning can be proposed was explained by the CBT analysis for yinyijieci. Through these analyses, this study tried to find one of persuasive answers for the reason why a pure phonetic loan had disappeared into history and yinyijieci replaced it, just as Kekoukele replaced Kekekenla. In order to support the discussion, several different yinyijieci such as mini, heike, and taizi were analysed as well. This study differs from previous loanword studies, in that both phonological and semantic analysis were considered together.

KCI등재

2음운보편성의 관점에서 본 ≪切韻≫ 모음체계

저자 : 金俊秀 ( Kim Junsoo ) , 盧慧靜 ( Roh Hyejeong ) , 李玉珠 ( Lee Ok Joo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 29-66 (38 pages)

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Reconstructing the Qieyun sounds has been subject to extensive research in the historical phonology of Chinese. Qieyun, a rhyme book compiled by Lu Fayan in AD 601, is arguably the most crucial source in tracing the sounds of Middle Chinese. However, the reconstructed sound systems differ to a large extent due to different linguistic sources as well as phonetic and phonemic analyses employed for the studies. The present study adopts phonological typology, which explains sound distributions across languages, as a methodological tool to compare the reconstructions of the Qieyun vowel system from Martin (1953), 周法高(1954, 1968, 1984), 藤堂明保(1954, 1957, 1980), Baxter (1992), 麥耘(2009), and 潘悟雲(2000, 2014, forthcoming). A close examination on the reconstructed vowel systems reveals that they differ in vowel inventory size, distribution of peripheral vowels and internal vowels, and distributional relations with such features as highness, frontness, and roundness. Taken together, Pan's revised system (forthcoming) conforms with vowel universals and provides a natural vowel system from a typological perspective. This study further suggests that it is not in fact a six-vowel system as Pan claims but should be regarded as an eight-vowel system comprised of the phonemes /a, i, u, e, a, o, ɤ, ə/.

KCI등재

3중국어 '比'자문 정도부사 '更'과 '還'의 의미·기능 비교

저자 : 李슬기 ( Lee Seulki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 67-88 (22 pages)

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This paper pays attention to the phenomenon that the semantic functions of the degree adverbs 'gèng(更)' and 'hái(還)', which constitute the same Chinese 'bǐ(比)' character comparative sentence, are not completely identical and do not intersect each other. Based on the Corpus analysis, the syntactic, semantic, and pragmatic differences of 'gèng(更)' and 'hái(還)' in comparative sentences were analyzed from various angles. From a syntactic perspective, the difference in syntactic function was analyzed by comparing and analyzing the predicate and adverb types, major syntactic forms, and conjunction patterns of the predicates 'gèng(更)' and 'hái(還)' in the comparative sentence of the 'bǐ(比)' character. wanted to clarify. Also, in this paper, from the point of view that the distinct syntactic difference between the two adverbs of precision reflects the semantic difference, the adverbs of degree 'gèng(更)' and 'hái(還)' in the comparative sentence of 'bǐ(比)' are particularly different in quantity complements. The purpose of this study was to elucidate the semantic and pragmatic causes of taking the form, and also in-depth comparison and analysis of the main semantic and pragmatic characteristics of the 'bǐ(比)' advice used with the two degree adverbs.

KCI등재

4'V+개사+X' 구조 연구

저자 : 崔信惠 ( Choi Shinhye )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 89-116 (28 pages)

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This paper examines the category, structure, and function of 'Zi, Yu, Wang, Xiang, Dao, Zai, Gei' that appear after the verb. As for 'Zi, Yu, Wang, Xiang', it is common to see that these are preposition, and that they function as prepositional complement behind the verb. In the case of 'Dao, Zai, Gei', the most inconsistent views appear as to whether they are viewed as forming a prepositional phrase complement as a preposition or functioning as a result complement as a verb. Therefore, in this paper, in particular, the categories of these three components and the characteristics and functions of the structures they form were examined in detail.
In the structure of 'V+Dao+X', it was suggested that 'Dao' is a verb and functions as a result complement because 'Dao' can have aspect marker 'Le' and 'Guo', the object(X) can be omitted or moved, and 'De/Bu' can be inserted between the verb and 'Dao'.
Next, although 'Zai' in 'V+Zai+X' may have aspect marker 'Le', it is more appropriate to assume that 'Zai' in this structure functions as a preposition category as it cannot form probable complements and is difficult to move or omit an object.
Finally, although 'Gei' of the 'V+Gei+X' structure can appear with the aspect marker, it is rare to have 'Guo', it is difficult to move or omit the object(X), and it cannot form probable complements with the 'De/Bu' character inserted, so it is more appropriate to view it as a preposition like 'Zai'. As a result, among the 'Zi, Yu, Wang, Xiang, Dao, Zai, and Gei' that appear after the verb, 'Dao' functions as a result complement as a verb category, and the remaining 'Zi, Yu, Wang, Xiang, Zai, Gei' can be seen as forming a prepositional complement.

KCI등재

5语言类型学视角下的“Num+次”错序偏误考察 ― 以韩语母语者为中心

저자 : 王帅 ( Wang Shuai )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 117-145 (29 pages)

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This paper analyzed the misordering error of Korean learners about “Num+Ci(次)” based on HSK corpus. On this basis, the teaching and pratice methods for Korean students was also presented. “
Ci(次)” is not only one of the most frequently used words in the modern Chinese language, but also one of the most grammatically important verb measure word at a beginner level in learning the Chinese language. Meanwhile, the most obvious error made by Korean learners of the Chinese language is the misordering error. The misordering error is a type of error occurred when the order of an adverbial phrase and a complement is switched, and it is hard to locate “Num+Ci(次)” and an object. This paper analyzed the reasons for the misordering error from the perspective of linguistic typology. In a comparison associated with the corpus data, learners who use a different native language of different language category shows a clear difference in the appearance of the misordering error. However, learners who use a different native language of the same language category show similarity in error pattern and error rate. In specific, Korean and Japanese are both classified as an SOV language category, and “Num+Ci(次)” locates before a verb. On the other hand, both English and Chinese follow the basic order of an SVO language category, in which locate “Num+Ci(次)” after a verb in general. Herein, when it comes to the misordering error of “Num+Ci(次)”, Korean learners and Japanese learners show similar patterns, whereas learners who use English as their native language barely make the misordering error. In this regard, it is difficult to say that dialogues, interpretations, and exercises regarding “Ci(次)” in Chinese language books are for Korean learners. Hence, developing a Chinese language book is needed to overcome the error frequently made by Korean learners.

KCI등재

6元代鬼神劇에 내재된 공포의 실체 ― 元雜劇≪生金閣≫을 대상으로

저자 : 李知恩 ( Yi Jieun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 147-171 (25 pages)

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The Yuan dynasty(1206-1368) was an era in which a large number of Yuan operas about ghosts appeared. In the Yuan dynasty, 15 kinds of ghost operas were produced, which accounted for a fairly high proportion of all Yuan operas. The fact that a large number of ghost opera were born in the Yuan Dynasty is an interesting point, and it is considered worthy of investigation into the phenomenon and its causes. In this paper, based on the last point of view among the various layers of ghost opera, we try to uncover social conflicts such as contradictions and antagonisms contained in ghost operas, and to examine the substance of the horror conveyed in ghost operas. For this purpose, the work used as a study object is Shengjinge of the Yuan Dynasty. In Chapter 2 of this study, the outline of the work and the main character are summarized, and in Chapter 3, the reality of the true horror conveyed by the work is examined, and the reasons for the creation of numerous ghost operas in the Yuan Dynasty are examined.

KCI등재

7중국 전통시기 笑話의 희극적 상상력과 심미의식 고찰 ― ≪笑林≫, ≪啓顔錄≫, ≪笑府≫, ≪笑林廣記≫를 위주로

저자 : 楊善惠 ( Yang Seonhye )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 173-206 (34 pages)

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In traditional China, objects of laughter in 'funny stories' get diversified as years pass. Also, laughter inducement elements of the characters which are the objects of the laughter revealed fragmentation, routinization, and universality. A discourse on funnie stories was expanded from the issue of sharing and communicating laughter itself by making human intrinsic problem situations as laughs, to the issue of being strenghthened in community order and social benefits.
In other words, 'funny stories' act not only as fun itself, but also as a tool generating a social discourse.
We can see comedy mostly in languages, bodies, actions, situations, and unusual characters. During Ming Qing period, funny stories in amusement of language focusing on language itself decreased and those using amusement of language as satires on social phenomenon increased. Once more, as an understanding in human and human body became deeper, funny stories utilized for social discourses appeared while we had fewer stories inducing laughter only by body conditions and function disorders.
Specific characters and behaviors of various people could be fuctioned as key words for analyzing a society at that time. Related stories show common laughter-inducing mechanism and they are supposed to drive people's re-creation.
Originally, folk funny stories started to record funny simple stories. But now, it entered creation stage. This means they recognized beauty of laughter in social dimension, not only in personal dimension. Also, it is supposed to drive another folk funny story creation.

KCI등재

8≪紅樓夢≫ 속 여성 인물의 몸 형상화 방식 연구

저자 : 盧仙娥 ( No Suna )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 207-236 (30 pages)

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The purpose of this paper is to study the body shape methods of female characters in the Qing dynasty novel A dream of Red Mansions. This novel was written by Cao Xueqin(1715~1763) at the time of the most severe oppression against women. First, through the progressive view of women of Wang Yangming in the late Ming Dynasty, to understand the background of respecting women in the novels of A dream of Red Mansions. And this novel contains a unique sense of respect for women centered on 'Girls'. Chapter 2 will examine the premise that the female characters's body in A dream of Red Mansions is embodied, focusing on the concept of a girl made of water and the girls's space 'Grand View Garden'. Chapter 3 will examine in detail the way in which the body of a female characters in A dream of Red Mansions is embodied, focusing on spirit, desire, and subject consciousness. A dream of Red Mansions's sense of respect for women is to recognize women as individuals, and the female characters's body, which is embodied by spirit, desire, and subject consciousness, can be seen as an active counterpart to an unreasonable feudal society.

KCI등재

9서술 시점의 리듬 조절에 의해 설정된 你道와 그 의미 ― 說唱本石派書 ≪龍圖公案≫과 ≪三侠五义≫와의 비교를 중심으로

저자 : 朴炫坤 ( Park Hyoungon )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 237-290 (54 pages)

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你道 is a cliched narrative that can be easily identified in vernacular novels, provoking the reader's curiosity about the next passage. The narrative is sometimes set as 且聽下回分解at the end of each episode of the work, but it just suggests the next episode, so it is inferior to the 你道 in terms of the influence it has on the narrative of the story in the work. Therefore, the discussion on the narrative style of vernacular novels should begin with the 你道. However, 說 唱本, the original copy of vernacular novels, have largely been lost, making it difficult to perform the fundamental study on the 你道. Meanwhile, 石派書≪龍 圖公案≫ has been found, which is a representative work of chivalrous novels written in the mid-Qing Dynasty as one of the series of ≪三侠五义≫ 說唱本. Therefore, if a fundamental study on the 你道 that has influenced the narrative of the work is carried out through comparison between the two texts, it will be possible to grasp not only the influence of the 你道 on vernacular novels, but also its action in the creation of texts. In the case of a study on the 你道, so far, it has focused a lot on the discussion of its function only by analyzing the texts of the novels in general, suggesting that the research achievements are lacking in various perspectives. It is clear that the comparison between the above two texts will be one of the research achievements for the diversity of the 你道 that can supplement the above-mentioned problem. For the study of such diversity, this study is intended to discuss that the 你道is set as in the case of sentences before the same viewpoint of narratives for linking the preceding and following paragraphs, unlike its existing function that arouses readers' curiosity. This type of the 你道 makes readers accept sentences from the same point of view without letting them perceive it as an existing single form. This is because when they go through such a process, they can move to the main contents of 'Ep. 1' that develops from the following of the 你道 in the previous paragraph, and furthermore, they will be able to focus on those main contents. Thus, this study will conduct a comparison between two texts for the purpose of considering the various characteristics of the 你道, and it is believed that the research results derived therefrom will provide a new direction for the study of the 你道's diversity.

KCI등재

1019세기 조선 문인의 중국소설 독서와 비평 ― 洪奭周 一家와 李圭景을 중심으로

저자 : 權夽映 ( Kwon Eunyoung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 111권 0호 발행 연도 : 2022 페이지 : pp. 291-313 (23 pages)

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Based on the fact that there were about 400 Chinese novels published, translated, and distributed in the Joseon Dynasty, changes in the Chinese novel view by period were examined, and in the process, various reviews criticized Chinese novels were collected and summarized. In this paper, based on the reading and criticism of Chinese classical novels by Joseon writers in the 19th century, Joseon writers are conducting research to find out through which process they read and distributed them, and further how they criticized them. Compared to the criticism of Chinese classical novels and Korean classical novels that poured out in the 18th century, the content of the 19th century is relatively small and the content is simple.
I t may be because Joseon Dynasty writers in the 19th century did not enjoy reading Chinese novels and writing feelings and impressions, but sometimes created themselves. As such, it is also worth examining how the society and culture of the late Joseon Dynasty affected when Joseon writers moved on from reading Chinese classical novels to creating.
In the course of this study, I visited the library of East Asia at the University of Berkeley in the U.S. During the Joseon Dynasty, writers not only read and appreciate books, but also selected their own books, selected sentences, bridged and criticized, and published books themselves. In addition, in the 19th century, it was assumed that Joseon writers moved away from the framework of reading to creation in Chinese novels, so it was worth examining the impact of society and culture in the late Joseon Dynasty, so they are collecting data for the study. I think this visit to the East Asian Library at the University of Berkeley in the U.S. was an opportunity to inspire interest and enthusiasm for research in old books. In the course of this study, it was possible to find evidence that interest in Korea-China comparative literature and Korea-China cultural exchange took place in various fields from book exchanges to direct communication and academic exchanges of writers.
Continuing this research process, it can be seen that Chinese novels were not excluded in the past when writers of the Joseon Dynasty gained knowledge through reading and examined their views. Through the criticism of Chinese classical novels, you can not only compare the criticism of Korean-Chinese novels, but also understand the worldview of writers at the time and point out the context of the values of the historical and cultural times. At that time, the study of Chinese novels, reading, and criticism, as well as writing methods, needed to be interested in Chinese literature and East Asian history and culture research, so we will proceed with this study in a wider and in-depth to enhance academic value.

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1≪동국정운(東國正韻)≫ 안의 개음절 복수음을 갖는 입성자의 계승 양상 연구

저자 : 具賢娥 ( Khoo Hyunah )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 1-42 (42 pages)

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Dongguk Jeongwun is the first rhyme book to record Sino-Korean since the creation of Hangeul. Most of entering tone in Dongguk Jeongwun have -ㄱ, -ㄹ ㆆ, -ㅂ final, but multiple sounds appears in 48 letters. These letters don't have open syllable sound in Guangyun(廣韻), and open syllable sound start to appear in Jiyun(集韻), Gujinyunhuijuyao(古今韻會擧要), Hongwuzhengyun(洪武正韻) etc. This study compared open syllable sound in Dongguk Jeongwun with fanqie in Jiyun, Gujinyunhuijuyao, Hongwuzhengyun. Most of them are based on Fanqie in These Chinese rhyme book. And some of open syllable sound are based on 'Sangdong(上同)' character in Dongguk Jeongwun. Furthermore, this study examined the changes in sound from Dongguk Jeongwun and its transmission patterns through comparison between rhyme book of Chosun Dynasty, Chinese character dictionary, Chinese character learning book, and Chinese character dictionary in Modern period. As a result, most of the rhyme book of Chosun Dynasty recorded as entering tone, and when it reached the Jeon-un okpyun(全韻玉篇), various pronunciations appeared. In the Chinese character dictionary of Modern period, it reflects the changed pronunciation of modern Korean, new definitions are added or some definitions are changed. As such, the succession in historical literature fromDongguk Jeongwun to modern Chinese characters is very complex and diverse. Based on this study, it is expected that the relationship between the nature of Dongguk Jeongwun and modern Chinese characters will be clarified in detail in the future.

KCI등재

2현대중국어 후행결속 현상 분석

저자 : 金慧京 ( Kim Hyekyung )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 43-68 (26 pages)

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Backward binding is a unique phenomenon in that reflexives, which mainly function as substitutes, precede their referents and can be bound by the referents without being c-commanded. This paper aimed to determine the nature of such phenomenon and explain the cognitive and syntactic mechanism which enables it. Language data shows us that backward binding is certainly induced by speaker's pragmatic purpose and thus is non-syntactic by its nature. However, considering that c-command cannot be abolished in the binding theory, we must assume that non-syntactic factors can help establishing internalized c-command relation, which enables such exceptional binding relationship.
Since backward binding occurs in order to emphasize the affectedness upon the referent, the referent in the sentence must recognize and perceive the thing caused the influence, which is the subject of the sentence. This helps establishing an internalized empty pronoun. The empty pronoun can easily be interpreted to be co-indexed with the following referent, and it also binds the preceding reflexive by c-commanding it. Therefore, the reflexive can be bound by the referent through the assumed empty pronoun.
Assuming such backward binding process makes the phenomenon not contradictory to syntactical principles and makes it possible to be explained in the same way as many other cataphora. Through backward binding, the speaker empathizes with the referent and describes the event from the referent's perspective. This helps depicting a recursive and unintentional effect upon the referent.

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3≪釋迦如來十地修行記≫ 술보구문 연구

저자 : 朴元基 ( Park Wonki )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 69-107 (39 pages)

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Seokgayeoraesipjisuhaenggi was written by a Buddhist monk during the Goryeo Dynasty in Korea. This work is typical of Early Modern Chinese, and it was written during the Yuan Dynasty of China. Until now, there have been several editions of this, but here, the Nakeunbon edition has been studied as the main material. According to research so far, it was written in 1328. In terms of overall style, grammar, and vocabulary, this literature reflects the language of the Yuan and Ming Dynasty.
This study focused on Verb-complement constructions in this literature, which were classified into four subcategories based on some sort of criterion. These four subcategories are 'Verb-resultative complement', 'Verb-directional complement', 'state complement', and 'potential complement'. Each subcategory can be divided into more detailed categories. 'Verb-resultative complement' can be sub-classified according to its semantic orientations: recipient-orientation complement, agent-orientation complement, verb-orientation complement. The verb-orientation complement is also called 'phase complement'. The Verb-directional complement can be sub-classified into simple directional complement and compound directional complement. Each of these is divided into directional meaning and resultative meaning usage again. The state complement is divided into Result type & Descriptive type. The potential complement is divided into V-de-C, V-de-O.
Each complement construction objectively reflects the situation of the complement construction during the Yuan and Ming Dynasty. Although the volume of this work is not large, it fully reflects the objective situation of the language at the time. This paper compared and examined through the literature of Yuan Dynasty and Shuihuzhuan(水滸傳) of the Ming Dynasty, and found that much of them were similar as a result. In particular, the Yuan and Ming Dynasty was the period of simplification of the Verb-complement constructions, and this work shows this character well.
We expect Seokgayeoraesipjisuhaenggi to be sufficiently used as a major basis for Early Modern Chinese Complement research in the future.

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4의미연결망분석과 감정분석을 통해 본 한국 언론의 중국 보도와 반중 감정 ― 코로나 19 사태 전후를 중심으로

저자 : 鄭素英 ( Jhong Soyoung ) , 金希敎 ( Kim Heegyeo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 109-137 (29 pages)

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This study analyzed the perspectives of Chinese reports in the Korean media. The analysis methods used in this paper are semantic network analysis and opinion mining analysis. As of January 1, 2020, in Big Kinds, this article has collected articles from the two years before and two years after that. The scope was targeted to the Chosun Ilbo, the representative of the conservative media, and the Hankyoreh, the representative of the progressive media. In order to see whether anti-Chinese sentiment has changed in Korea before and after COVID19, the analysis standard was set to January 1, 2020. As a result, it was found that both media reported on China in a much more negative direction after COVID19 than before. The Chosun Ilbo's reports on China before Corona19 mostly focused on politics and economy, but the reports after Corona19 had a lot of negative articles stating that the origin of Corona was China. In the case of the Hankyoreh, before Corona19, there were many articles about inter-Korean talks and North Korea-US talks, and after Corona, various topics were reported, including articles related to Corona. However, while the total number of articles decreased, the number of negative reports increased. But the Hankyoreh did not clearly show the intention to use the Corona19 incident to hate China, and was very careful in calling Corona19 the Wuhan virus or the Wuhan pneumonia. The Hankyoreh's indifference to China has increased in the wake of the COVID-19 outbreak. The amount of articles has decreased, and the direction of articles has changed.

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5關於≪論語≫“己所不欲, 勿施於人”一語的議論及其辨義

저자 : 姜聲調 ( Kang Seongjo )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 139-165 (27 pages)

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This paper is try to examine the interpretation of the original text, analysis the structure of grammar and sentence, retort on the related arguments, settlement of the keywords meaning and conception classified the meaning about one phrase among the Analects of Confucius at the standpoint related with the Teaching a Reading of Chinese Classics “what you do not want done to yourself do not do to others”. I would like to argue about the how the Chinese scholars interprets what you do not want done to yourself, do not do to others” in the chapter of Yan Yuan and Prestige of Word among the Analects of Confucius, they used to consider that phrase as a Golden Rule in Ethics or power will of egoist, convert it to affirmative words. In order to retort against the arguments I'd like to apply the grammatical analysis and settlement of meaning for its vacabulary and concept, original text interpretation. In fact, on original text, we can induce that the “A man of Virtue try to seek from himself” up to “taking it and compare with similar case near by himself” finally it effect upon to others. And also it might be lovely toward the person, not biased and excessive, insufficient based upon value, significance of self, that is to say it is a process of Reciprocity(Shu, 恕). Deciphering the original text, it's meaning might be that a man of virtue seek after himself, If he think it is a something not to be accepted, do not give it to others. Saying on this deciphering, The meaning of this phrase “What you do not want done to yourself, do not do to others” is not a direct interpretation upon this phrase but is indirect description. That is to say it is a way of interpretation. I think that the teaching of Confucius employed a meaning from the original text “a man of Virtue try to seek from himself” up to “Reciprocity(Shu,恕), and finally lead to practice it and get to result of lovely emotional attitude “Benevolence”.

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6刺客의 탄생, 능력의 발견 ― ≪史記≫ <專諸傳> 깊이 읽기

저자 : 金光一 ( Kim Kwangil )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 167-195 (29 pages)

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The purpose of this article is to clarify the social and cultural meaning of 'assassin-retainer(刺客)' newly defined by Sima Qian(司馬遷). In the Memoir of Assassin-retainers, The Grand Scribes Records, the new content of the concept of assassin-retainer is filled by describing the deeds of five figures during the Spring and Autumn Warring States Period. For this reason, if a word is copyrighted, the copyright holder of 'assassin-retainer' can be said to be Sima Qian.
However, Sima Qian's 'assassin-retainer' has a richer meaning than the modern meaning of a contract assassin. In order to understand the assassin-retainer devised by Sima Qian, it is necessary to consider the social status of assassin-retainer as much as the act of “poking and killing.” In order to reveal these characteristics, it was closely tracked how Sima Qian embodied the Zhuanzhu(專諸) that can be called the original form of assassin-retainer.

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7위태로운 천하: 명말 時事小說≪遼海丹忠錄≫에 나타난 對明·後金·朝鮮 인식

저자 : 金曉民 ( Kim Hyomin )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 197-228 (32 pages)

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Liaohai Danzhonglu (遼海丹忠錄), the current-affair novel (時事小說) in the late Ming Dynasty (明末) describes situations among the Ming Dynasty, Later jin, and the Joseon Dynasty (明·後金·朝鮮) in the rapidly changing East Asian situation by focusing on the wars between the Ming Dynasty and the Later jin in the early 17th century. The work 'realistically' narrates acute international dynamics and vividly reveals the aspects of awareness of the contemporary interested countries from the viewpoint of the Ming-Qing transition period when ideals of “Chinese world order” are farthest from the realities. Awareness of each country in the work generally reveals double aspects and shows the aspects that relative recognition and vigilance awareness are remarkable.
In the case of the Ming Dynasty, it still reveals the ideal ideology as the Celestial Empire (天朝大國) and the Chinese empire, but it shows the tendency which reveals relative recognition or vigilance awareness to be very aware of peripheral/external powers and look at itself on the defensive in the realities of the acute international relationships more strongly. And “China consciousness” is emphasized as a country that has a nationalistic tendency.
In case of the Later Jin, it basically shows the tendency to reveal the negative perception of degrading and despising the other countries consistently based on the traditional perspectives of Chinese and Barbarian (華夷觀). On the other hand, it often cast light on their strong points and reveals awareness of looking at the Later jin and “China” as the relative relationships as each country. And it reveals that it actually regarded the Later Jin as “the neighboring enemy country” (隣敵國) by expressing thorough antagonism as another aspect of relative recognition in the meantime.
In case of the Joseon Dynasty, the relative view which look at it as the independent foreign country and the viewpoint of the perspectives of Chinese and Barbarian to look at it as a representative foreign “subordinate country” that supports the “Chinese world order” are generally mixed. In the work, the Joseon Dynasty shows the tendency to be regarded as the small and weak “subordinate state” and at the same time, is recognized as the foreign country to make sure to cooperate with to defend the country called the Ming Dynasty and object to check not to make it cooperate with the Later Jin, “the neighboring enemy country.”
On the other hand, the work continues to cause nationalistic sentiment and appeal to the heart to defend “the country.” It is worthy of a representative example which makes people get a sense of the aspect that a kind of discussion on patriotism is narrated and becomes popular through the popular medium called the novel as the development of Chinese narrative genre meets the historical background of the Ming-Qing transition period. And it is also another good example to show that the genre of the novel played a unneglectable role of reflecting and reproducing “China”'s perception of the self and others.

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8선봉시와 설치미술의 만남: 어우양장허(歐陽江河)·쉬빙(徐冰)의 '봉황(鳳凰)' 해독

저자 : 鄭聖恩 ( Jung Sungeun )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 229-257 (29 pages)

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Xu Bing's 'Phoenix' is an installation art on display in the Beijing Central Business District created by collecting 12 tons of industrial waste. In response to Xu Bing's 'Phoenix,' Ouyang Jianghe created a long poem “Phoenix” to construct the intertextuality between avant-garde poetry and installation art. Ouyang Jianghe identified Xu Bing's objet so-called 'Phoenix' as 'the ruins of an old urn-like thought' of human civilization. At the same time, various historical significances and metaphors given to the signifier of phoenix are explored through the genealogy of 'Phoenix' in the time spanning from ancient China to the present and contemporary times. Phoenix is a divine bird that an era of prosperity in China, but the heavy weight of Phoenix hanging from the scaffold in the form of construction waste creates an illusion of the prosperous age and makes it more difficult to fly.
Both Xu Bing and Ouyang Jianghe were interested in the deconstruction of the writing system under the influence of Jacques Derrida's différence and deconstruction theory as well as the exploration of the fabrication of East-West civilization and the exchange of civilizations. In the long poem “Phoenix,” the flight of Phoenix is acquired by a momentary sense in the difference of the language of flying (飛) and non-flying (不飛). At this time, industrial waste, a material form of Xu Bing's Phoenix, is converted into millions of diamonds and revived as a freely flying Phoenix.
Phoenix by Xu Bing and Ouyang Jianghe is a 'symbol' representing China and a kind of 'device' for recognizing the self and the world. The two Phoenixes pose an astronomical question to the world about the current crisis of humankind and its complexity, such as the global crisis, human civilization, the low-level perception of workers and the environmental and economic problems of industrial waste. Moreover, the answer to this question will work as a play of various metaphors and signifiers between waste (廢Fèi) and flying (飛Fēi) according to the spatiotemporal background of Phoenix and the viewing style of the observer.

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9한·중 현대 연극사의 재구성 ― 김명곤의 <격정만리>와 톈친신(田沁鑫)의 <질풍노도(狂飆)>를 중심으로

저자 : 吳明善 ( Oh Myeongseon )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 259-278 (20 pages)

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This study attempts to examine the theater histories of Korea and China through Kim Myung-gon's Passion Faraway and Tian Qinxin's Bursting Gale and Raging Waves, and investigate how important figures in the theater history are historically portrayed. As for Passion Faraway, this study examined the flow of the theater history in Korea from the 1920s to the 1950s in a sharp relationship with historical reality, and as for Bursting Gale and Raging Waves focusing on the life of Tian Han, an indispensable writer in the Chinese theater world, this study deeply coped with the inner side of the 'hero' and the tragic fate. The two works commonly used the method of a play in the play, and tried to communicate the past and the present, and wanted to express this in the theater. However, Passion Faraway emphasized the historical consciousness through chronological composition, while Bursting Gale and Raging Waves focused on the inner description through the flow of consciousness of the protagonist. The similar material of describing the early theater histories of Korea and China and the similar composition of the operation of a play in the play unfold in completely different directions as seen above.
This is due to the difference in the writer's consciousness or historical consciousness between the two writers. Kim Myung-gon restored the narrative hidden by the ruling power in the theater history and tried to recognize the history from a variety of perspectives, not from a balanced or unidirectional perspective. Tian Qinxin equates life and death throughout the play, and focuses on the flow of consciousness of the characters, dispelling the sharp debate between reality and history. These fundamental differences in the reality and historical perception of the two writers also make a huge difference in the portrayal of history in the play.

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10영화 <海灘的一天>이 말한 사랑의 신화와 시대의 종언

저자 : 陳性希 ( Jin Sunghee )

발행기관 : 중국어문연구회 간행물 : 중국어문논총 110권 0호 발행 연도 : 2022 페이지 : pp. 279-302 (24 pages)

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If a film director's works are recognized by the public and critics as 'modernistic' ones, regardless of the times in which they are produced, and his works lead to the discussion of 'modernity', then it would be evident that they bring about the fundamental reflection and speculation on the art of cinema. In this aspect, Edward Yang's films may be 'modernistic' across time and space, because of the narrative He attempted to embody through his films and the mode in which He treated it.
That Day On The Beach is a film exhibiting the life of two females facing the traditional institutions and customs imposed on them in different ways, along with the dramatic development of economy and the modernization in 1970s and 80s. Edward Yang shows that it is impossible to judge right from wrong, regardless of whatever lifestyles an individual selects in the paradigm of times, and that individuals realize the truth of their life, in lives with a lot of characters. He also opens the possibilities of various interpretations, by abstractly reorganizing the process in which a female called Jari actively cope with the hardship of her life and then becomes reborn as a subjective female, and describing it with the 'exceptional flashback' and the reproduction method in which a privileged and certain moment is rejected. Such abstract and disintegrated ambiguity may be the aesthetics characterizing Edward Yang's films. Then, He established his peculiar film aesthetics based on the continuous cinematic experiments and practices, and therefore, contributed to subliming the cinema to the art which it takes long time to closely read, rather than mere entertainment, by extending the time and space for the cinema.

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